Jazz Rock Fusion - Surviving Four Decades and

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Jazz Rock Fusion
Surviving Four Decades and Counting…
By,
Rick Calic
www.jazzrockworld.com
March 2006
Writing an article about Jazz Rock Fusion these days might seem as pointless as debating the benefits of Hi-Fi
equipment with vacuum tubes vs. transistors to someone that uses an iPod. The only people that would care are
older folks who even remember tubes and dedicated enthusiasts. On the other hand, while Jazz Rock Fusion
might be older or seem equally pointless to many reading this article, there remains a large but scattered
segment of the world’s population that sees the genre as a vibrant and legitimate art form. Sadly though, the
musical perspective regarding Jazz Rock Fusion was narrow from the beginning and will probably always be
that way. Jazz Rock Fusion, in terms of the entire world of music, constitutes just a tiny fraction of interest. Yet,
if we accept this as fact, which most fans, musicians and certainly “big business” does, the generation of any
interest at all is meritorious.
In order to discuss the music with integrity, a ground rule needs to be established. This ground rule is required
due to the unsolved, long lasting, and ongoing mysteries of the music and its unique identity. Mysteries such as:
What is Jazz Rock Fusion? Who started Jazz Rock Fusion? What should it be called? And finally, with no major
media support why is there still a market? So, what are the answers you ask? Quite simply these mysteries will
remain mysteries. Answering the questions definitively will end up as trivial as the facts regarding the creation
and development of the gut bucket. Even if we could be sure what the truth might be (given its controversial 40
years of history), would it really matter? The only result would be the few people that find interest in obscure
matters might actually discover little known information. However, applying significance to trivial details might
serve to impede enjoyment of the music.
Having said that, the first order of business is to break this silly ground rule and take a closer look at a few of the
mysteries. A good a place to start is inevitably with the original pioneers. Without each one of these musicians,
there could not have been such a thing as Jazz Rock Fusion. In no particular order, the (short) list would have
to include Miles Davis, Tony Williams (Lifetime), John McLaughlin (The Mahavishnu Orchestra and Shakti), Joe
Zawinul & Wayne Shorter (Weather Report), Herbie Hancock (Mwandishi and Headhunters), Larry Coryell (early
solo work and The 11th House), and Chick Corea (Return to Forever). Although he was never considered to be a
Jazz Rock Fusion artist, it should be mentioned that the work of John Coltrane and the musicians that were
educated to his importance created the common ground for Jazz Rock Fusion’s Golden Age. Through the gates
opened by these pioneers came the first generation of trailblazers that expanded the boundaries of musical
creativity. The following is a list of a few special musicians whose work decades ago has passed the test of
time and is still as vibrant today as it was during the beginning of the art form. Again, in no particular order,
these masters include Dave Liebman, Billy Cobham, John Abercrombie, Terje Rypdal, Jeff Beck, Masabumi
Kikuchi, George Duke, Hal Galper, John Scofield, Alphonso Johnson, Allan Holdsworth, Terumasa Hino, Jan
Hammer, Stanley Clarke, Lenny White, Keith Jarrett, Eddie Henderson, Richie Beirach, Jack DeJohnette,
Randy Brecker, Michael Brecker, Joe Farrell, Pat Metheny, Steve Grossman, Pat Martino, Dave Holland, Mike
Nock, Om (with Christy Doran and Fredy Studer), Airto, Alphonse Mouzon, and so many more. On the Rock
and Blues side of things the musicians that were influencing and being influenced by the Jazz Rock Fusion
pioneers included Jimi Hendrix, The Cream, Sly Stone, James Brown, John Mayall, Yes, Jethro Tull, Frank
Zappa, Pink Floyd, Led Zeppelin, Bill Champlin and The Sons of Champlin, Santana, Blood Sweat & Tears,
Traffic, Tangerine Dream, Cold Blood, Paul Butterfield, and of course the early Jam Bands, Grateful Dead, The
Allman Brothers, Mountain, Ten Years After, Electric Flag, along with a dozen or so other “Hippie” bands that
gained notoriety in San Francisco through the legendary Fillmore Auditorium and Winterland Arena (Bill
Graham), and The Avalon Ballroom (Family Dog [aka] Chet Helms) during the mid to late 60’s and early 70’s.
Apologies are due to many other Jazz and Rock musicians that belong on these lists, but were not mentioned.
In defense, trying to list everyone would certainly be an exercise in futility as no one would be satisfied that the
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list was complete or accurate, but we have to start somewhere. Incomplete as the lists are, the influence of
Jazz Rock Fusion’s pioneers stretched far and wide to include some of the greatest musicians and music that
began decades ago. While these trailblazers were not household names, they had a tremendous impact on the
musicians who were. Jazz Rock Fusion is certainly the leading candidate for being the last great creative
movement to emerge from the Jazz, Rock, and other traditional instrumental styles.
As with any creative movement that involves art, money and commercialism struggle for successful evolution
and ultimately, big business determines the lifespan that defines the period. In the case of Jazz Rock Fusion, it
seemed at the time it began, all the right elements were in place to make a new and creative art form that would
rival other successful musical periods such as Big Band, Be Bop, Rock ‘N Roll, Heavy Metal, New Age, and
others. However, Jazz Rock Fusion wasn’t that fortunate. In fact, it can be argued that the birth and the decline
were virtually simultaneous. There are three significant facts that emerged from this otherwise obscure glitch in
the history of modern music. 1) Due to the openness of the market to creative music in the early 70’s, Jazz Rock
Fusion did in fact gain some brief measure of success before “morphing” itself into the commercial form we
know today as Smooth Jazz. 2) Before the ship sailed away into commercial oblivion, many creative musicians
launched lifeboats that are still afloat with some in need of repairs or an upgrade, others that are still bright and
shiny, to a few that are continuing to sail uncharted waters. 3) The musicians and the music they created in the
beginning are still inspiring an older group and now a new generation of musicians springing up all over the
world, who are building their own lifeboats and venturing onto the ocean of the Internet to find smooth sailing or
safe harbor. These unique facts are unprecedented in musical history and defy the ancient traditions of record
companies ruling the musical high seas.
This complex, controversial, and enormous musical legacy of Jazz Rock Fusion is the driving force behind the
ongoing interest of new musicians, fans along with the muse for writing this article. There is no precedent for the
emergence and dwindling, yet continued evolution, of a musical genre that is still vibrant, alive, and growing,
even though throughout it’s lifespan has clung to the outermost fringe of the musical world. How this music
survived without major media support for over 35 years is truly a mystery, regardless of the tiny fraction of
interest the genre garners. In fact it is precisely this fractional interest that gives credence, legitimacy and
significance to this blip on the screen in musical history. The handful of musicians that created the genre
deserve high praise from the mainstream “powers that be” for not only the reasons cited here, but also for
another incredible fact that should not be overlooked. The musicians that started, continue, and are just
beginning to play Jazz Rock Fusion are some of the most creative and talented musical artists and professional
musicians on the planet. Giving, or rather neglecting to give these special musicians and the music they create,
due credit and their rightful genre status both in history and contemporary recognition, remains as mysterious as
the genre itself.
Continuing beyond the mystery of the musical history, we should examine what most consider being the
recordings that best define the genre’s art form. Therefore, listing a few examples in terms of commercially
released material is warranted. The brief list cited in this article constitutes a few examples and in no way
attempts to archive the vast amount of material that belongs on a list of significant pioneers and contributors.
Apologies up front to those who were omitted. Please bear in mind that while some of these recordings were not
commercial successes and appreciated by fans, they all certainly influenced musicians that were widely
influential or appreciated. Due to the length and details included in the list, and for the sake of continuity, it is
shown at the end of the article. Those wishing a sneak peek can click here. (A return link to this page is at the
end of the list)
Almost all of the recordings are available in Cd format with a few notable exceptions along with some that sat in
vaults for decades before finally being released on Cd scattered throughout the last 10 years. There is
considerable significance to the fact that these old recordings have not been forgotten. In some cases a great
deal of effort was made to go back and remaster the original tapes even though the music had already been
converted from vinyl to Cd (A truly remarkable feat for a genre that never really gained mainstream popularity).
In addition, credit must be given to the hard working people behind the scenes responsible for making the music
available to a new generation of fans and young musicians. The credit goes beyond the major record labels and
is deserved by many entrepreneurs that have worked hard to pursue the legal right to obtain and release
material that would have otherwise stayed “OOP” (Out of Print).
By now the essence of Jazz Rock Fusion should be coming into focus. The combined creative forces behind
the short list of musicians and recordings shown here are staggering to say the least. All of them demonstrate
the positive aspects of Jazz Rock Fusion that “would have/should have” caused the genre to be the major
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success it started out to be. “What happened” is the obvious and logical next question. Unfortunately the
answer is also obvious and logical – it’s a mystery! No one has successfully and succinctly been able to answer
this question to everyone’s satisfaction, few people care anymore, and they shouldn’t! The answer is irrelevant
to the enjoyment of the music. However, speculating about the diminishment of Jazz Rock Fusion can be, and
has been a tantalizing subject for debate that has gone on since the 70’s. The same questions we asked about
the birth of the musical genre can be adapted to its decline as well. Who started it? What are generally
considered the best (or worst, in this case) examples of why it dwindled? Again, we come up against the
mystery, and again, it will remain a mystery. Who would dare point fingers or assign blame for something that
was ultimately a commercial inevitability? A simplified explanation is that because of the fact that Jazz Rock
Fusion has always been a fringe genre born out of the creativity of a few musical geniuses that never truly
gained mainstream success, it is a foregone conclusion that it would never survive as a major musical art form.
Having said that, let’s point some fingers anyway! What art form ever survived without a little controversy?
There are probably as many opinions and conclusions drawn about the birth, life, and decline of Jazz Rock
Fusion as there are people that play and listen to the music. Objectively speaking there are always certain
specific events that must take place for any art form to survive. Jazz Rock Fusion is no different in this regard to
any legitimate art form, whether its painting, sculpting, literature, or junk piled up in a really cool way. In order to
create an art form there have to be some basic elements that come together to form an understandable,
pleasing and unique perspective of our existence. This perspective starts with the artists, then artisans (skilled
labor – or in this case professional musicians), the materials, and a crowd of people to appreciate it. But to
survive from there, it takes business skill to harness, produce, and market the final product to much more than a
crowd of people. Success is then measured by the results of these elements coming together, staying together,
and growing together. On a small scale, Jazz Rock Fusion had all these elements, let them go, and yet
somehow found a way to modify and adapt to changes in the marketplace. While trivial and mysterious as this
may seem to be, it is certainly a tribute to the musicians, fans, and humanity for continued appreciation of the art
form.
As it is with all things, there is a certain harmony, balance, and binding force of positive and negative energy
that provide the tangible evidence necessary to be recognized by our senses. How we react to that recognition
defines our humanity and character. Having so far provided some degree of positive reaction to the art form of
Jazz Rock Fusion, some attention should also be provided to support the negative reaction as well. Another way
to put that is in the form of a question – If Jazz Rock Fusion is so wonderful and significant, why has it always
been on the fringe and not appreciated in the mainstream of society or the music business? Is this another
“musical mystery”? Yes and no depending on your recognition of the art form. An argument can be made that
even an ardent fan of Jazz Rock Fusion needs to admit that there are legitimate reasons for the obscurity of the
music. Simultaneously, these reasons may be a blessing as they have allowed the genre to remain a truly
creative art form not affected by the whims of the crowd forcing changes by big business. Or, vice versa, as you
please.
The clichés associated with the negative viewpoints regarding Jazz Rock Fusion are numerous, and as with any
cliché or stereotype, have some basis in fact for support. Some of the more popular remarks are: “Its music for
musicians”, “Too many notes”, “The guy is a great musician, but who cares”, “It’s just a bunch of guys doing
musical calisthenics”, “You can’t dance to it”, “There’s no melody”, “I don’t understand, it just sounds like noise”,
“Its all just a big wank-a-thon”, “You got something against singers?”, “Its too loud and too fast”, “Man, that is
just plain annoying”, “Does the word boring mean anything to you?”, “What a bunch of show-offs”, “It hurts my
ears”. “Are you on drugs again?”, “You only like it because everyone else hates it”, and on and on.
Unfortunately these remarks are quite legitimate observations and opinions that certainly play no small role in
the lifespan of the genre. Let’s say it one more time, Jazz Rock Fusion has never been and probably never will
be “popular” and these are just a few of the reasons. On the other hand, similar or contrasting comments
regarding other successful and popular art forms carry just as much validity, hence the mystery.
In an effort to summarize this mystery, it’s important to know that around the mid 70’s three significant events
took place, that when combined, impacted Jazz Rock Fusion with a near death blow. In fact, they were so close
to each other chronologically that they effectively caused a great deal of confusion and altogether changed the
musical landscape as a whole. Between the musicians, radio stations, record companies, and popular
literature, it seemed impossible to sort things out and leave enough room for the continued integrity of Jazz
Rock Fusion. What does that mean, and what are the three events? Well, primarily it means that a lot of music
was coming out that was being called Jazz Rock Fusion, but in fact wasn’t and the reasons are 1) Disco
emerged as the flavor of the day across the US and then around the world. Like moths to a light, fans and big
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business followed the Disco dollars and almost wiped Jazz Rock Fusion off the map. 2) In a bizarre twist of fate
that some might argue actually saved Jazz Rock Fusion, another musical form emerged that was never given a
name, typically confused with, and considered to be (but not), Jazz Rock Fusion. Looking back, it’s easy to say
this “music without a name” could have been called Instrumental Pop, but sadly that never happened. Instead,
many called it Crossover, Jazz Fusion, or just Fusion and left it in the same category as Jazz Rock Fusion. That
began a chain reaction causing a virtually insolvable puzzle, or “The Name Game Stew”. The name game was
so popular at this point it could be argued that many people were either overwhelmed or apathetic to bother with
an educated distinction. So naturally because nearly all this new music was instrumentally based, however
wasn’t exactly Rock, Soul, Blues, Country or Disco and primarily played by Jazz musicians (and the new breed
of Instrumental Pop musicians who were commonly mistaken for Jazz musicians), it all went into the Jazz
section right next to Louis Armstrong, Duke Ellington, Charlie Parker, John Coltrane and no one bothered too
much about it. It can also be said without too much disagreement, and used as an example (because of it’s
immense popularity and success) in a complimentary way, that George Benson’s “Breezin” was one of, if not the
biggest factor in the birth and success of this “music without a name” or Modern Instrumental Pop. Finally 3)
They say that imitation is the sincerest form of flattery, but when the imitation is inferior (or altogether different)
yet becomes more popular than the original it can effectively destroy an art form’s integrity and popularity.
These three elements overwhelmed the music business to the point that virtually eliminated Jazz Rock Fusion
from its tiny foothold “downtown” and moved it to the “suburbs”, or “outskirts” of the marketplace. To further
confuse things, many highly skilled musicians began playing two other styles of “music without a name”. A very
short lived (thankfully) style that might be called Disco Jazz, and the much more popular “Studio Musician Jazz”
that infiltrated the movie and television soundtrack business. It wasn’t too long before the music to everything
we watched ranging from cops and spies to sexy scenes became synonymous with this complex blur of “music
without a name”. Meanwhile, real Jazz Rock Fusion was still lingering around the sidelines and back burners of
the music business. A good example of this “back burner” marketing dilemma is well known to Lenny Bruce
fans. When Lenny died in 1966, his record company couldn’t fully devote the proper time and attention to
documenting his incredible legacy as they had much bigger fish to fry - namely Creedence Clearwater Revival
(CCR). They were rapidly becoming one of the biggest success stories in Rock’s history and both CCR and
Lenny Bruce were on the same label. In fairness to the label, it’s hard to ignore the wide gulf of potential profits
between the huge rewards for Creedence compared to the minor satisfaction of paying tribute to a controversial
comedian. No finger pointing intended just a non-Jazz Rock Fusion related and real example of music business
realities.
All these factors contributed to the decline of Jazz Rock Fusion. Lengthy and specific examples supporting this
condensed and highly subjective viewpoint of musical history and mystery might seem in order at this time,
however, it is not the intention of this article or this author to cast aspersions, especially when it’s already been
stated that the demise of Jazz Rock Fusion was inevitable. In addition, properly documenting this musical era
would require a book rather than an article. So rather than look at a “whom”, let’s look at a “what”. In this case,
the single most relevant factor that opened the door widest for imitators of lesser ability, creativity, and possibly
integrity, was clearly the elimination of educated and highly skilled improvisational freedom. For reasons
unknown and part of the mystery surrounding Jazz Rock Fusion, some musicians either fell victim or actively
pursued this change. This single event moved the focus of the original energy behind the birth of Jazz Rock
Fusion, to a more palatable and marketable style that was easily confused for the real thing. While this new
music also gained some measure of success, it also had a much more devastating effect. It succeeded in
morphing what was already mistakenly referred to as Jazz Rock Fusion, or “music without a name”, with
Instrumental Pop to create what we now know as Smooth Jazz. Giving the benefit of doubt to the musicians that
followed the pioneers, the critics that threw stones at them, and the fans that were enjoying the shift (or not), it
must also be stated that the originators of an art form are rarely rivaled, equaled, or surpassed. Thus, pointing
fingers or assigning blame for Jazz Rock Fusion’s overall obscurity is nearly, if not completely, impossible and of
little interest to anyone but the most ardent fans of the genre that enjoy such trivial controversy.
Having discussed the mysteries of Jazz Rock Fusion with fans, musicians, and broadcasters for many years,
I’ve also recently had the deeply appreciated honor and privilege of getting some feedback from a few musical
geniuses, legends, and pioneers of the genre including John McLaughlin, Dave Liebman Adam Holzman,
Peter Erskine, Billy Cobham, and John Scofield. A few questions were laid out and these Jazz Rock Fusion
masters graciously responded as they saw fit. Having been the first to contribute, here are some brief yet deeply
meaningful and well chosen words from John McLaughlin:
Jrw: About yourself?
JM: Guitarist, continually searching.
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Jrw: As a pioneer, what attracted you to Jazz Rock Fusion?
JM: I grew up listening to Jazz and Rock. I have been a fusion musician since the beginning.
Jrw: For people getting their first exposure, what would you suggest they listen to?
JM:
James Brown, Sly Stone, Coltrane, Miles, Weather Report, Return to Forever,
Mahavishnu.
Jrw: What should the music be called?
JM: Fusion.
Jrw: With a nearly insignificant earning potential, what makes Jazz Rock Fusion attractive to
musicians?
JM: Foolishness and excessive love of improvised music!!
Jrw: When the music morphed into Smooth Jazz, why didn’t it die, or what’s the deal with
Kenny G?
JM: Sometimes to make a step forwards you have to make a few steps backwards. At the
moment humanity is making its few steps backwards – hence the need for people like Kenny G.
Jrw: With all the file sharing going on, what is the best way for fans to support Jazz Rock
Fusion?
JM: Listen to it – love it and tell their friends.
The Saxophone genius, legend, and Jazz Rock pioneer David Liebman composed this tremendously
enlightening statement detailing aspects of the genre from the perspective of one of its original pioneers,
successful bandleaders, and most influential artists to ever play a Saxophone:
I was weaned on early 1950's Rock 'n' roll. In fact, that was the music that brought me to the
tenor sax in the first place. Elvis, Jerry Lee Lewis, Little Richard, the doo wop groups and of
course any instrumentals that leaked through to the hit parade (Walkin' With Mr. Lee; Topsy;
Rebel Rouser; Tequila) made up my first musical interests, followed in my teenage years by the
incredible experience of seeing the John Coltrane Quartet live many times in New York City,
where I was brought up. So by the time I became a so-called jazz player and served my
"apprenticeship" with drummer Elvin Jones and Miles Davis, rock, funk or whatever it was
called, was a part of my life. I didn't particularly want to play that music but I enjoyed it
nonetheless.
When fusion began to be a style to be reckoned with by my generation (early 1970’s), it
appeared to be a way that we could leave our mark and take the music to a new place. At the
beginning we didn't think about commerciality or sales and the like. We just enjoyed playing
rock based rhythms and rode that energy wave, interspersed with improvised lines which were
actually quite chromatic and in some cases pushing the boundaries of harmony. And of course,
the advent of electric instruments and synthesizers, etc., just sweetened the pot. My first real
steady gig was with "Ten Wheel Drive" which featured five horns, a great singer (Genya Ravan)
and sophisticated arrangements that reflected Broadway and jazz as well as rock. And of
course, Miles and his "students" (Mahavishnu, Herbie Hancock, Chick Corea and Wayne
Shorter with Joe Zawinul), forged new ways of thinking about music which was truly exciting.
Unfortunately, several things happened around the same time that thwarted the movement.
First of all, the large record companies saw the chance to sell this more palatable music (as
compared to late Coltrane or free jazz which were concurrently happening) and they, with the
tacit or in some cases enthusiastic agreement of the musicians, basically "poisoned the well."
Also, since the style itself was less intellectually demanding compared to be-bop or Coltrane's
style of playing, numbers of musicians who did not have the necessary discipline to play jazz or
possibly the talent, could more easily learn the trappings of the fusion style. So the combination
of trying to fit the music into a package that was attractive to the consumer along with a lowering
of musical standards conspired to, in fairly short order, put an end to at least the main creative
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aspects of fusion. Soft or easy listening, CD101 type music came along to suck up the trappings
of fusion but with the energy and creative drive watered down and "slickified" of course. Putting
rhythm and blues roots together with pentatonics and blues licks was irresistible, especially if
encased in high class productions and so on.
End of story. Fusion exists now as a style with a few musicians exemplifying the best of the
idiom, who will play that way till the day they die. The classic period of the 70’s will stand as a
monument to musicians who were trying to break out of the box and extend jazz to other places.
Nothing gained, nothing lost!!
Note: Even the word "fusion" is a misnomer, since all music is a fusion of at least a few if not
more influences. I would prefer to call this period, the jazz-rock age, since the music borrowed
certain precepts from each area. Of course therein lies the danger - when you mix two strong
elements together, there is the obvious necessity of having to sacrifice some of the principles of
each in order to meld the two together. I am afraid that in the case of jazz-rock, something like
this happened.
For those not already familiar with Adam Holzman, a brief bio is in order. Adam founded the early Jazz Rock
band “The Fents” (still very listenable, BTW) and then gained international recognition for his five year
contribution and participation in the Miles Davis bands of the mid to late 80’s. Since then he’s released several
recordings under his own name including two quintessential Jazz Rock Fusion masterpieces “In a Loud Way”,
and “Jazz Rocket Science”. He has been involved in the production and release of several significant Jazz
Rock recordings including (Posthumously released) “Miles Davis – Live Around the World,” Steps Ahead “Vibe”
and Jane Getter’s “See Jane Run.” His current band Brave New World is at the forefront of Jazz Rock Fusion
and remains true to the heart of the genre as outlined earlier. In addition to his staunch dedication to Jazz Rock
Fusion, Adam should also be recognized for his brilliant compositional skills, plus, his truly amazing “groove
factor” is simply off the charts. His overall style can be described as what great music would sound like if Miles
Davis joined forces with Tower of Power. Adam graciously provided the following comments:
Jrw: As a pioneer, what attracted you to Jazz Rock?
AH: Although I appreciate the compliment, I don't consider myself a 'pioneer' of anything. I'm
merely a mid-level captain on the Jazz-Rock front lines.
Jrw: What attracted you to Jazz Rock Fusion?
AH: Why jazz-rock? One can make a convincing case that the last major development in
creative instrumental music was, perhaps, the early 'golden age' of jazz-rock (roughly 1969 to
about 1975). When a new sound emerges, it is in that moment of discovery, the beginning of a
new style, that often the freshest music is made. There is a kind of energy that happens when
an old form is pushed to its limits and a new form breaks out. The energy of those early jazzrock classics is undeniable, and the music has stood the test of time.
Here goes my extreme oversimplification: The density of be-bop gave way to more open
approaches in the late 50’s and early-to-mid 60's; hard bop, free jazz and modal. But after
Coltrane, where can you go? By the late 60's one of the only unexplored areas left was the
exploration of actual Sound, which at that point in history meant electronic sound.
It also had the nice side effect of appealing to a wider audience, a mass audience that (thanks
to Hendrix, the Cream, etc.) was starting to become acquainted with the idea of extended solos.
Tony Williams was one of the first people to really understand this (check out the early Lifetime
records!), and Miles and Weather Report were with him in the vanguard of this new movement.
By the time Headhunters, Mahavishnu Orchestra and Return to Forever came out; the public
and the rock biz were ready. Jazz-rock was triumphant!
Around this time I was a teenager living in Los Angeles. To me and my friends, bands like
Mahavishnu and Return to Forever were just as popular as big rock bands. I was really drawn to
the style. I remember seeing Weather Report at the Long Beach Arena and thinking that there
might be a real future with jazz-rock, especially since it already seemed so popular. I assumed
that jazz-rock would move forward for many years as an important branch of Music. However,
like any great creative period, the moment passed. Critics starting dissing it first, then some of
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my heroes put out less-than-great albums. The market had really stepped in and people started
releasing a lot of boring music. Jazz-rock became associated with fast licks and drum solos.
What a lot of people didn't realize (musicians included) was that what made the classic albums
great was NOT the fast solos but the Writing and the Vibe.
The final blow was the neo-traditional movement of the 80's and early 90's. For the first time in
history, the center of jazz was no longer the creative NEW shit, but a style that had been
popular years before. Jazz-rock lost momentum. A lot of good players drifted towards other
areas of music. People stopped trying to push the form. ['Smooth jazz' became a popular radio
format]. In the mid 90's it was pretty much over. By that time the radio formats were so rigid
that nothing got any airplay besides smooth jazz and traditional acoustic. Without radio behind
the style the major labels backed off. And there it was: a Great Form, stalled before its next
Great Phase.
Miles's later albums pointed to new directions, and Herbie and Scofield have constantly
evolved. When I started playing with Miles in the mid 80's, he was working with a more openended groove approach that was often structured around the bass lines. The idea of chromatic
melodies and dense polychords on top of a serious groove opened up another world of
possibilities (check out "Decoy"). The instrumentation in Miles' band was almost like a rock
band, but the sound wasn't really jazz-rock, it was something else. So, jazz-rock is not really a
style but an Approach. There is room for a lot more great music using these tools (musicianship
+ electric instruments) combined with good compositions.
Jrw: For people getting their first exposure to Jazz Rock, what "Classic" Jazz Rock would you
suggest they listen to?
AH: Bitches Brew
Birds of Fire
Wired
Headhunters
Thrust
Spectrum
Hymn of the 7th Galaxy
The Cellar Door Sessions
Jrw: What should the music be called?
AH: Jazz-rock. I mean, it IS a combination of jazz and rock... Fusion was sort of the early term
for what became 'smooth jazz.' Fusion can really mean a combination of anything anyway, so
it's not really accurate at all. Note: naming things, putting them in categories doesn't really mean
anything, and it often harms the Future.
Jrw: what makes Jazz Rock attractive to musicians?
AH: An opportunity to be completely creative. If you can squeak by, it's almost worth it!
Jrw: When the music business morphed Jazz Rock into Smooth Jazz, why didn't Jazz Rock just
die, OR, what's the deal with Kenny G?
AH: Jazz-rock hasn't died, it's just retreated to smaller labels and European tours where it can
Survive. By the way, apparently 'smooth jazz' is over now anyway (except for its biggest
stars).... But jazz-rock keeps chugging along... I know a lot of people hate Kenny G, but I will
say this: he's managed to have some big hits playing instrumental music. The mistake here is
assuming he has anything to do with jazz, etc. He's pop without vocals.
Jrw: With the incredible amount of "File Sharing" in existence, what's the best way for a fan to
support Jazz Rock?
AH: Simple. Please buy real CDs (they sound better anyway) and get people to come to the
shows. We also need some energy at a grass roots level, things like newsletters and stuff.
Jrw: What's Next?
AH: We need Song Writing!!! That, more than anything, is what will put jazz-rock back on the
map in “A Big Way.” A couple of big hits and some great songs... Maybe a TV Show....!!!!
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Inspired by this article, an extended version of “Why Jazz Rock” can be found at Adam’s website www.jazzrock.com
Since bursting onto the scene in Weather Report with Jaco Pastorius, then the tremendously successful band
Steps Ahead, drummer Peter Erskine has quietly proven to be one of the world’s best drummers. During his
prolific career he’s played with a virtual who’s who of musical superstars. His virtuosity is matched only by his
good judgment and subsequently he’s been the driving beat on many of the very best Jazz Rock Fusion
recordings ever made. He has graciously taken some time out of his busy schedule to provide us with some
extremely insightful and profound comments.
Jrw: About yourself?
PE: I began playing the drums when I was 4 years old. My father, a psychiatrist, had been a
bass player during his school years, and I always remember music playing in the house. I grew
up listening to a wide variety of music, including big band jazz (Stan Kenton, Count Basie),
Bebop (Art Blakey, Max Roach), "Latin" then and "Afro-Caribbean" now (Tito Puente), African
(incl. some RCA albums like Guy Warren as well as field recordings; Oliver Nelson's African
Sketches album, etc.), classical...Dave Brubeck, Miles Davis ... my sister's Joan Baez albums ...
so by the time The Beatles came along, the sonic palette was already quite large and
accommodating (and I was quite into Coltrane's music by this time, too). In a sense, my entire
musical upbringing had more to do with a "fusion" of music as opposed to a more catholic/and
limited world-music view. Even though I don't have as much free time to listen nowadays as
when I was a kid, I still enjoy hearing all kinds of music from all over the globe...some more than
others, of course.
Jrw: As a pioneer, what attracted you to Jazz Rock Fusion?
PE: Jazz Rock seemed a natural continuation of my musical exposure and education. The
combining of musical influences has been taking place for a long time and are easily apparent
(esp. if one considers the time and place when some of these recordings or compositions were
realized). Hearing Zawinul's electric piano on "Mercy, Mercy, Mercy" took the Ramsey Lewis "In
Crowd" vibe to a higher and finer place, but it was still part of the same path. Mike Mainieri's
album, which I became aware of from reading an article in Downbeat magazine about the
Jeremy (Steig) and the Satyr's band; checking out the Gary Burton "Live at Carnegie Hall"
album with Larry Coryell; Gary McFarland; The Fourth Way; Charles Lloyd's band; the Don Ellis
big band ... a lot of music crossed my path before Bitches Brew did ... in fact, the Miles album
that really signaled the future (for me) was "Miles In The Sky."
I liked this music in great part because, when it was good, it seemed like a post card from the
future that said "Hey ... this is what music can sound like. Wish you were here!"
Jrw: For people getting their first exposure, what would you suggest they listen to?
PE:
Miles In The Sky
America The Beautiful (Gary McFarland)
Bitches Brew
In A Silent Way
Jack Johnson
Fat Albert Rotunda (Herbie Hancock)
Weather Report (1st album)
Birds of Fire
Hymn of the 7th Galaxy
I Sing The Body Electric (Weather Report)
Mysterious Traveler (Weather Report)
Mwandishi or Crossings (H. Hancock)
Headhunters +/or Mike Clark album
Blue Note and/or Impulse albums by Donald Byrd, Duke Pearson, Oliver Nelson, Wayne
Shorter, Larry Young, Joe Henderson, Freddie Hubbard....
Jrw: What should the music be called?
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PE: Just for the record: Weather Report always rejected the name (word) "fusion" ... claiming
the band' played "modern American music" ... jazz rock or fusion are handy terms ... jazz rock
sounds a bit dated and faded, like an old pair of bell-bottomed pants. Maybe fusion is better
(though I usually tend to picture Billy Cobham as soon as I hear the word!)
.
Jrw: With a nearly insignificant earning potential, what makes Jazz Rock Fusion attractive to
musicians?
PE: I don't think that too many true musicians ever put the money thing first, so ... if they like it,
it's because they like it. And there's a lot to like about some of that music. Some of it, like the
term "jazz rock" above, sounds pretty dated and even silly, though the good stuff is timeless like
any other great music. IN addition to the experimentations in sound, improvisations, beats,
ETC., some of the better music still sounds good because the COMPOSITIONS are good.
Check out some of the early Weather Report stuff...
I don't know why and where some of those other-worldly harmonies have gone; I miss them in
today's music.
I think what was appealing about the music back then was that it WAS honest, and that earnest
searching, combined with the powerful political overtones that reverberated across the country
and globe at the time, made for some potent brews. It was, in that sense, a real fusion of the
culture, the changing music, political awareness, etc. We could use a bit more of that today,
even if I currently do prefer most of my 4/4 to be swung!
Jrw: When the music morphed into Smooth Jazz, why didn't it die, or what's the deal with
Kenny G?
PE: I don't think that the music that Miles played, that Weather Report played, et al, morphed
into anything of the sort. "Smooth Jazz’s” roots come more from MUZAK than anything else.
Percy Faith with an R&B beat. It is music which essentially aspires to nothing.
Jrw: With all the file sharing going on, what is the best way for fans to support Jazz Rock
Fusion?
PE: The best way to support any style of music is to remember that any copyright or royaltybearing material serves an important function in the culture of a society, just like with books or
films ... I think it's okay to share music ... we did it , albeit with reel-to-reel and cassette tapes ...
but this is how musical awareness is spread. I might try a demo of some computer software, but
if I like it, and use it, I buy it. Same with music. This is all part of a larger question concerning
culture and ethics ...look around you today and show me if our leaders are serving as good
educators or role models in these all-important areas ... I don't think so.
Billy Cobham gained international notoriety with the original Mahavishnu Orchestra and can arguably be
qualified as the modern drummer that changed the world. Just like other household names that have changed
the way people view a musical instrument such as Jimi Hendrix for guitarists, Jaco Pastorius for bassists, or
John Coltrane for saxophonists, Billy Cobham is such a musician for drummers. Billy was asked the similar
questions about himself and Jazz Rock Fusion and his deeply meaningful words are as follows:
As for me I am who I am based upon my past. For more in depth details check my biography.
But choosing Jazz Rock Fusion: There are three words here and two that go into the third would
be a most proper analysis. I was exposed to Jazz and Rock as a youngster so it is a natural
thing to pull the two together. Jazz-Rock-Fusion is just that: the combining of two sub concepts
in Western Popular music under a heading that can easily be tabbed by the media and
marketed as such. To me it's all music of my life so it's not an attraction but a way to express
my inner self. Therefore the music will never die until I do and that would just be my "take' or
approach to performing within that platform. If you think materialistically that the music is limited
remember that musicians are not accountants therefore they don't see the bottom line when
performing in earnest. What they seek to achieve is acknowledgement for their art first then they
think about the money thus, the music lives in spite of "it's limited earnings potential" which by
the way is governed by those who choose to limit it in much the same way that the media is
directed as to what, when, and how to market anything. I would suggest first timers to jump in
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"head first" and listen to what their minds tell them are agreeable sounds for them at the time.
Check my calendar for up and coming events like Sonic Mirror the movie and more.
One of the most enjoyable moments in the making of this article was the truly inspirational conversation I had
with John Scofield. John burst onto the Jazz Rock Fusion scene with Billy Cobham and then the Billy Cobham
– George Duke band with Alphonso Johnson in the mid 70’s. Since then he’s played with a virtual who’s who of
world class musicians and of course his years with Miles Davis in the mid 80’s has helped make him one of the
most recognized and respected guitarists of our times. This is a modified version of our extensive conversation:
Jrw: I know you have a busy schedule and are due at Yoshi’s very soon, so I appreciate your
setting aside a few minutes for me. I should probably tell you I’m not a professional journalist,
just a fan of the music,
JS: That’s why your work has integrity. You’re really into it. Not that others aren’t into it, but they
get so busy “writing” and have to write a lot to make a living, sometimes the quality suffers.
Jrw: Thanks! Could you tell us something about yourself and attraction to Jazz Rock Fusion?
JS: I started to get into jazz in the late 60’s when the very first Jazz Rock stuff was happening. I
was learning about Charlie Parker and Thelonius Monk and then I got an album by Miles Davis,
I remember his new album was “In a Silent Way” and that was sort of the beginning of his Jazz
Rock career and I had one of his older records that I bought 6 months before with Tony Williams
and Herbie and Ron and the “Classic quintet”. So I was right there in the beginning and I didn’t
quite distinguish, you know, I knew there was something different happening with Miles doing
that, and the groups that came out like right in 1969. I didn’t quite make this big distinction
between Jazz Rock and Jazz as there is now. It was just a different time. I think that the way I
got into the music, you see, is my background had been blues. I was a real Blues fan and Blues
purist you know when I was like 14 and 15. Then I got into Jazz and I was just trying to learn
how to play Bebop when I went to Berklee and I was checking out the albums like “Bitches
Brew” and that sort of thing that Miles had done. Then groups like Mahavishu Orchestra had
come along and certainly Tony Williams Lifetime just before that and I had heard those bands
live and loved it. But basically on guitar I was trying to learn how to play standards and
traditional jazz and I got into Jazz Rock because the first little gigs I got with bands or jam
sessions, people would call out certain tunes, and we would just be a funk band, we would play
Bebop tunes but we tried playing over like a James Brown kind of vamp and because of my
blues background I was able to fit in with that too you know.
Jrw: So what was your major attraction to Jazz Rock?
JS: I just like rock really, and I like jazz.
Jrw: What about the improvisational aspect?
JS: I just like Jazz. I was a Jazz musician, so I never really thought, well, I liked Jazz Rock too. I
really loved some Jazz Rock, for example: I loved Miles, I loved the Mahavishu orchestra, I
really loved Weather Report, I loved Herbie Hancock’s band the Headhunters, and I thought of
those groups as Jazz, as an extension of Jazz. I really liked Funk you know and Pop music and
Rock and I always liked songwriting, so I decided these guys were Jazz musicians and they’re
using a different rhythm and a different sort of instrumentation to express themselves, but
primarily they’re Jazz musicians. And I think THAT, to me, is the most interesting of the fusion
music - the stuff that Miles and Wayne Shorter and Joe Zawinul and John McLaughlin, and
those guys, the way they played it because they were great improvisers and composers. The
second wave or third wave of fusion which was not really Jazz Rock and done by more “fusion”
kind of players. They weren’t jazz players as much. What they played was fusion. That’s what
they can do. While the other Jazz Rock guys were really extending the Jazz tradition a step
further.
Jrw: Your Funk background really comes out in the work that you do with Dennis Chambers
such as the DVD “In the Pocket,” I think its real obvious both you guys are really into the Funk
thing. How did that come about?
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JS: Well Miles got me back into fusion in the 80’s when I joined his band because I had played
with Billy Cobham and George Duke and I had been there in almost the original fusion years. It
was January of 1975 when I had joined Billy’s band so it had been going for a few years and
after I left Cobham and Duke I was really pursuing my kind of just straight ahead Jazz. Then I
got back with Miles in November of 1982. When I joined his band I really got into electric Jazz
again, the way he was doing it. Then after I left his band in 1986 that’s when I put together the
thing with Dennis Chambers and Gary Grainger.
Jrw: I think your two records, “Electric Outlet” and “Still Warm,” are Jazz Rock Fusion hall of
fame recordings.
JS: Thanks. It was because of Miles really, as he was SO serious about that direction as being
this really valid art form and Miles was my idol and me and some other people too, really
pursued that area.
Jrw: If somebody was to get interested in Jazz Rock fusion and didn’t know anything about it or
thought they knew about it and weren’t sure what were some of the defining recordings, who
would you suggest they listen to that would exemplify the genre?
JS: I would say Miles Davis, especially
“Bitches Brew”
“On The Corner”
Weather Report, “Mr. Gone”
“Heavy Weather”
“Weather Report”
Herbie Hancock “Headhunters”
Those are some of my favorites and then Mahavishnu Orchestra “Birds of Fire” but you know I
love the record, “My Goals Beyond” by John McLaughlin which has acoustic stuff on it. That is
an incredible record. Chick with his Return to Forever “Hymn of the Seventh Galaxy,” that was
very good too.
My personal take on Jazz Rock was I really like the funk side of it and that would best be
exemplified by Herbie Hancock and Miles Davis and I thought Weather Report brought
sophistication to the music that I haven’t quite heard since. I don’t know what there was about it;
maybe it was the Wayne sound or something.
Jrw: Well Zawinul was the base line groove master
JS: Yeah, he wrote the best base lines
Jrw: Jazz Rock Fusion is a very obscure and tiny fraction of the music business. Why do you
think musicians and fans are still attracted to it?
JS: 0k, this is where we differ a little bit because I remember and you were there too, I
remember when I toured with Billy Cobham’s band when I first joined that band we were playing
large venues all over the country and generating a good income. Billy Cobham was signed to
Atlantic records - that was one of the major record companies around. There was a lot of
interest from the real music business in Jazz Rock fusion as something that could make some
money. They were selling tickets. Now of course it was nothing compared to Led Zeppelin you
know or whoever was making it in the 70’s, but you know these guys, the Jazz Rock stars of the
day, McLaughlin, Chick, Miles, Weather Report, Herbie, were like Rock stars.
Jrw: The golden age?
JS: In the golden age. They were a kind of rock star. It was definitely musician connoisseur
music, but they packed big halls. You know what I mean?
Jrw: Yes I do.
JS: And this was not an underground thing. You know even Bebop when they talk about
modern jazz in the 50’s maybe a few guys maybe Brubeck and Miles got into the concert level
but most of it was in really small clubs. Jazz Rock in the 70’s with the big names crossed over to
the Pop market.
Jrw: I totally agree with you and my question was more aimed at its existence now.
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JS: Well I think it’s just like all trends in music it still exists because it’s a valid form and a good
form and people like to play it. Young musicians some of them like to play it and find the older
records and want to play in that style and so it exists just like another subgenre of Jazz. Just like
there are some people who like to play Bebop, you know, its not commercial really, in its pure
form, its not a big commercial success but there are still people who like it and people probably
can relate more to the records of Weather Report than they can to most challenging Jazz
records. You know there is still something that communicates I think just to the average Jazz
listener on a really high level Jazz Rock order.
Jrw: So you’re kind of mimicking or mirroring what a lot of people are saying, that there’s going
to be an eternal attraction to it?
JS: The form was very valid. It happened because it was natural. Rock and Roll and R&B were
the popular music of the day and it was natural for jazz musicians to improvise in that form. You
know what I mean? It wasn’t a big intellectual thing. It was like oh yeah we can blow on this too.
There are these roots of Jazz and R&B and all the Blues and it all kind of comes together so it
was a natural thing that happened and so then the music flowered. It wasn’t like some other
forms of Jazz like Third Stream where they try to blend classical music with jazz hasn’t really
ever worked because it is an intellectual idea. It doesn’t quite work but you put down a funk
thing and you have a good Jazz musician like Miles Davis who can play the Blues and it just
works.
Jrw: With the way the world is right now, file sharing is here to stay. There’s no getting around
it. What’s your take on people trading concerts and downloading stuff?
JS: I’m very confused and like you say it’s here to stay and it’s hard to police copywritten works
now and I worry for the future of artists making a living off of their work in the way they have in
the past. On the other hand because it is here to stay its great that people are able to access
music and learn about it. People like you and me who are interested in forms of music that are
more obscure and out of the pop mainstream. As far as people sharing concerts I’ve always
thought that was cool. You know if someone has a tape they make of a gig and they want to
make it for a friend and they’re not selling it I always thought that that was okay but I know other
jazz musicians that don’t think that.
Jrw: You sound pretty consistent with what most people are saying in terms of making a living
playing Jazz Rock Fusion or any kind of music, that once it’s legitimately for sale, it’s not right
for people to be stealing.
JS: If you have a new album and somebody downloads it for free, they’re taking away a sale
and that’s the way the music has survived and people I think are very confused, they think oh
well it’s just the big pig record companies that are getting hurt by this, it’s not the musicians. But
it is all the musicians that are hurt because if the record companies exist they will make albums
and generate work for musicians, for the side men, you, for everybody - If these record
companies are healthy. Now they are not as healthy and jazz has been virtually dropped from
the major labels because of file sharing. I guess. You know I don’t know why the record
business is hurting maybe it’s not just file sharing that’s hurting the record business. But look at
it. CBS no longer has really any Jazz. Columbia, the great label of the golden era no longer has
jazz. Warner Bros. has shrunk its jazz catalogue down to almost nothing. They have Nonesuch
records which has a few Jazz artists left over from Warner Bros. So those are the two biggies.
Universal Music where I was associated, Verve records, now mainly does singers in the Dianna
Krall genre. There are virtually no instrumental artists left on that label.
Jrw: There are a few struggling companies like ESC in Germany.
JS: Yes there are a few independents but they aren’t the majors. You know there is a
difference because if you are on one of the majors, they distribute worldwide. I know because
I’ve been on major labels and if you’re on one of the struggling companies, it’s hard to find those
cd's. You can find my records on Verve and on Blue Note in any store.
Jrw: Yeah, but not the ones on Inner City.
JS: But not the ones on Inner City, exactly. And when you go to Europe you can get my
records on Verve and Blue Note in all the different countries. You can get them in Japan. But
that company you’re talking about in Germany which is doing a lot of Jazz Rock stuff is hard to
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find here and that’s because they don’t have the distribution of the majors and the great thing
about Chick Corea, Miles Davis, John McLaughlin, all those records, those were available
worldwide.
Jrw: I guess it’s more of a statement to confirm that groups like Tribal Tech went under
because they couldn’t find a label. Mike Stern lost his contract with Atlantic and Joe Zawinul
couldn’t find a label. I mean, wow!
JS: Nobody can, because nobody’s doing it. And it’s the same, not just with Jazz Rock, but
with Jazz in general…and I think it could be argued that it is because of file sharing. The record
companies that are Pop labels that are selling 60 percent of what they were selling 10 years
ago, they’ve cut back all across the board and Jazz is gone from all their rosters or Jazz Rock
or what ever.
Jrw: I don’t know, but on the other hand I don’t know how many people are sharing Jazz Rock.
JS: I don’t either but that doesn’t matter, you know what I mean. They may not be sharing Jazz
Rock but if they’re sharing Britney Spears and those big labels that put out Britney Spears also
have smaller jazz labels on the same major label but are losing sales of Britney to file sharing,
they immediately cut back Jazz. It’s what happened. That’s why there’s no Jazz on the major
labels.
Jrw: That’s a very interesting connection.
JS: This is happening right now. The major labels would like to have a jazz label and maybe
they want to have a classical label. Jazz Rock is one part of it, but they aren’t doing the
interesting music that doesn’t sell tons, even though they might have wanted to. That’s over for
the major labels and all that’s left is the interesting small labels but they don’t have the
distribution.
Jrw: That is a real interesting observation…
JS: And also, if people are downloading Jazz Rock and file sharing, which they may be, it hurts
the small companies too, and the small companies have to cut back so they aren’t able to do as
many records, so it hurts the musicians and ultimately everybody.
Jrw: What do you see in the future for Jazz Rock? Is it going to be around?
JS: Well I can’t read the future but Jazz Rock is a valid form of Jazz that people like to play and
learn about and to extend on and people are playing Charlie parker music, people are playing
Dizzie Gillespie music, Bud Powell music, and especially the classic Jazz Rock stuff, plus there
has been this whole Jam band scene. Groups like Medeski, Martin, and Wood have become
very popular on a really underground scene that’s kind of related to the Dead and Phish and
groups like that. But with Medeski, Martin, and Wood their music is really a kind of Jazz Rock
for sure and to me they keep the tradition going.
Jrw: And your work with them was great too.
JS: Thank you, and there is a whole new jam band movement of bands that are playing a kind
of Jazz Rock fusion.
Jrw: I see that in Garaj Mahal.
JS: Exactly, and those guys have an audience. It’s been interesting to see this thing come up
in the last few years, the last ten years really. It’s a part of the jam band scene. So you know
jam band is another word that is very confusing because you go to those festivals and you hear
a bluegrass group and then you hear a group that sounds like Herbie Hancock’s Headhunters
or Miles or something. So in that way the music keeps going or resurfaced in that other area.
Jrw: I agree with that because the artistry and integrity and ability to improvise in the jam band
area is kind of mixing itself with that old Rock and Roll tradition that Cream and The Grateful
Dead started with these long jams. People loved it.
JS: Hey, Cream and the Grateful Dead were a kind of Jazz Rock.
Jrw: The Dead even called a song “The Eleven,” right? What rock and roll band is going to play
a song in 11?
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JS: I think those were the serious musicians that were playing in Rock and they loved Blues
and they liked Jazz in the abstract. They weren’t Jazz musicians in that they didn’t know how to
play Bebop but they liked the idea of Jazz and they heard Coltrane, you know, and they heard
his extended stuff and it affected them.
Jrw: I think there was a lot of influence going back and forth too.
JS: Yeah, and those guys influenced Miles. Miles just picked up on it and just said hey I can
use this sound to back myself up but he was influenced by the rhythms and used those rhythms
but he created his own music.
Jrw: Talk about an artist, a genius. I personally think that Miles Davis IS Jazz Rock Fusion!
JS: Yeah, I think without him I can’t imagine it would have done what it did.
Jrw: Ok. Any new interesting projects you have coming up?
JS: Well I did some stuff in the studio with Medeski, Martin and Wood, some new stuff that’s
going to come out on their label, it’s going to be called Medeski, Scofield, Martin and Wood and
it’s going to come out in the Fall - If it goes as planned. They have their own label. They have
their own thing going.
Jrw: I know you’re late for Yoshi’s and want to thank you again for your time and insights.
JS: Well thank you! And thanks for doing it because the truth is this music is under written
about. Most people in Jazz, you know don’t write about it, and then the people who are writing
about pop music or jam bands, they’re in a different bag, so it’s good to get some serious
attention given to it by you because I don’t think there’s enough.
Jrw: I appreciate that a lot!
In addition to the musicians that provided such insightful and significant contributions to the many aspects,
perspectives, and unique knowledge about Jazz Rock Fusion, it seemed appropriate to gather information from
a couple of completely different resources and perspectives. Firstly, since the Internet is making the world so
small and providing various ways for the survival of Jazz Rock Fusion, it made perfect sense to enlist the aid
and point of view of a Jazz Rock Fusion Internet Radio broadcaster. There are several very excellent Jazz Rock
radio stations that are operated by devoted fans with little or no compensation. One of the best known and well
established is Upbeat And More – The Best in Electric Fusion. The station is owned by Richard Kolp and his
contributions, tireless efforts and overall integrity make him a significant factor in the survival of the genre. If
Kudos were quarters, he should be a millionaire! Taking time out of his busy schedule is indeed another
significant contribution and here are a few things he had to say:
Jrw: About yourself?
RK: Richard Kolp from Oak Creek, Wisconsin. Started broadcasting five years ago on
Live365.com due to the fact that regular radio would not play what I liked to listen to. I also
wanted to expose new and emerging musicians who aren’t afraid to push the boundaries of
musical improvisation.
Jrw: As a broadcaster, what attracted you to Jazz Rock?
RK: I have loved Jazz Rock since its very early days. I was exposed to it for the first time at a
local night club in Milwaukee, Wisconsin in 1973. The name of the band was Sweetbottom
featuring then unknown guitarist Daryl Stuermer.
Jrw: For people getting their first exposure to Jazz Rock, what "Classic" Jazz Rock would you
suggest they listen to?
RK: Wow! There’s too many to list as I have so many favorites. What a lot of people seem to
forget is that early Rock was full of Jazz elements. Bands like Chicago, The Doobie Brothers
and Steely Dan just to name a few were full of it. OK here are two classic’s I would recommend
Enigmatic Ocean – Jean Luc Ponty and Romantic Warrior by Chick Corea. I would recommend
listening to my station on Saturdays because we feature a show that plays all Classic Jazz Rock
along with Deep Cuts. http://www.live365.com/stations/rlk8250?play
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Jrw: What should the music be called?
RK: I know that the word Fusion as it is related to music has been pretty much a dirty word.
Most relate it to a mutt as a type of dog. The reason being is that it really doesn’t fit into one
genre on its own and is the label people put on music that doesn’t fit one genre or another.
However Fusion is what it is and should be.
Jrw: With a nearly insignificant "earning potential” as a vocation for musicians and
broadcasters, what makes Jazz Rock attractive?
RK: Very simple explanation here. Because of my station I have had the chance to speak to
many musicians. Musicians are attracted to this style simply because it has no boundaries.
Uninhibited, Improvisational Freeform and the ability to create any type of music that comes to
mind.
Jrw: When the music business morphed Jazz Rock into Smooth Jazz, why didn't Jazz Rock just
die, OR, what's the deal with Kenny G?
RK: Smooth Jazz is having the same trouble now that Jazz Rock had many years ago. The
radio stations again are to blame for all of this. If you listen to a Smooth Jazz station what you
hear now is light pop and R&B. Throw in a bunch of vocals as well. Instrumental music is all
about gone. Radio is even destroying progressive rock at this very moment and in fact all new
music or emerging artists are being completely shut out by regular radio. Most people don’t
even have a clue as to what music is really being made in the world today.
Jrw: With the incredible amount of "File Sharing" in existence, what's the best way for a fan to
support Jazz Rock?
RK: Support these bands and musicians in any way shape or form. Buy their music and go to
their concerts. Don’t be afraid to play their music anywhere you go.
Jrw: How do you choose what to play?
RK: I play everything and anything. I have always been attracted to different styles and types of
music.
Jrw: What’s the buzz? What are your listeners asking to hear?
RK: The sad fact is that people are so shy that I get very little feedback. The feedback I have
received has been positive. The musicians are most appreciative.
Jrw: After Sweet bottom, who did you mostly listen to, or, what artist took up the most space in
your record collection?
RK: Well, Chick Corea, Jean Luc Ponty, Herbie Hancock, Larry Coryell, Lee Ritenour, Tony
Williams, Dave Grusin, David Sanborn, Jeff Lorber, Spyro Gyra, Crusaders, Billy Cobham and
Jimi Hendrix to name a few.
Jrw: Why do you think Jazz Rock gets so little feedback, especially when so many people
participate in forums about other musical genres?
RK: Most of the forums that I have seen or participated in share many of the same attributes.
The people who post are regulars who have been posting from the time they joined. The vast
majority are lurkers who are afraid to post for who know what reasons. Jazz Rock Fusion music
is in the vast minority and has even less participation. The main reason might be people just
don’t have time to post.
Jrw: Who do you consider to be part of the “Next Generation” of Fusion artists of significance?
RK: This one is tough to answer. The one thing I can say is that many musicians continue to
play and record Jazz Rock and Fusion and for that I’m very happy. I think with so many bands
and musicians now recording music in the world, that the fan base has been diluted to the point
where you’re lucky to have a few hundred die hard fans. I see and hear this everywhere I go. I
just don’t ever see this music becoming what it once was unless some of the younger
generation starts playing it and builds some type of fan base. I just discovered a young Russian
group who is into this music and maybe they can interest more of their age group. We shall see
in time I guess.
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Jrw: Do you think Jazz Rock is making a comeback?
RK: I don’t think it’s making a comeback but it’s a genre where musicians can stretch out and
be creative making it a lot of fun to play. I think that is the biggest reason why so many bands
still play it. It will never die for that reason alone. Every other genre is restricted in one way or
another. Jazz Rock and Fusion absolutely have no boundaries.
Secondly, the final contributor, Dr. Al Levin is a professor at California State University, Sacramento who has
conducted research in the field of psychology and current societal trends. He is also a long time fan of Jazz
Rock Fusion. He brings a unique perspective about the current state of Jazz Rock Fusion.
Jrw: How did you become interested in Jazz Rock Fusion?
AL: I’ve been a fan of improvised music since early childhood. I took saxophone lessons as a
young child and then started to listen to jazz. Growing up in San Francisco during the 60’s I was
also exposed to the rock scene and was especially drawn to the music of Jimi Hendrix and
Cream. When you combine listening to people like Miles and Coltrane then add Hendrix and
Cream, you eventually will land at Jazz Rock Fusion. I remember hearing a track from John
McLaughlin’s record Devotion on an FM rock radio show. That led to a real musical epiphany
when I saw the original Mahavishnu Orchestra in 1972, strangely enough as the opening act for
Cheech & Chong. The Cheech & Chong fans left their seats during the set, while the rest of us
sat there thrilled and in total disbelief that music could be done that well.
Jrw: From your perspective, why do you think Jazz Rock Fusion has always been on the fringe
of the music business?
AL: Musicians and fans of Jazz Rock Fusion often say there isn’t enough support from record
companies. Although the music industry does have a role to play in keeping Jazz Rock fusion
on the fringe, I don’t think the music industry is totally the problem. After all, they’re primarily in
the business to make money. I believe that in reality most people in the U.S. like things simpler,
not more complicated, especially when it comes to music. I’m talking about a preference for
three minute songs, easily understood lyrics, and a simple four/four rhythm. It’s not that people
who prefer these qualities in music are dumb or simpletons, it’s just that simplicity in music or
any art form is easier to relate to than complexity for most people. Jazz Rock Fusion doesn’t
emphasize simplicity. In fact, the music emphasizes just the opposite, namely long
improvisations, no lyrics, non-Western scales, and odd time signatures.
The other issue to consider today is the fact that everything in the U.S. seems to be about how
fast we can do it. The U.S. is truly a “fast-food nation.” Unfortunately, many people in the U.S.
don’t seem to have the patience to appreciate complex music. I think that explains why Jazz
Rock Fusion is more popular throughout Europe where the trend to speed things up hasn’t quite
taken over yet. Also, Europe has a richer history of appreciating art. In the U.S., and this is
where the music industry is somewhat to blame, it’s usually more about selling product than
creating art. In the 1970’s, we were in a period of experimentation and creativity where creating
art was important enough to be popular, and that helps explain the” Golden Age” of Jazz Rock
Fusion. Some of the top Jazz Rock Fusion bands, just like the big Rock bands, were playing
large venues in the U.S. and elsewhere.
Jrw: Are you saying that Jazz Rock Fusion should become simpler in order to remain viable or
win back its popularity?
AL: Not at all. I think that would be the worst thing that could happen. I think Jazz Rock Fusion
musicians should do their best to stay true to their values. By values I mean long
improvisations, non-Western scales, and odd time signatures. I believe that they should
consider what independent film makers have done, and done quite successfully. Many
independent film makers, some quite avant garde, have become successful by recognizing
what they do best and continue to produce very high quality work that’s loved by both critics and
fans. For example, there are a number of independent film makers who make lower budget
independent movies that maintain artistic integrity. At the same time, if there is talent and skill
shown, the movies become popular as well. I think Jazz Rock Fusion musicians can do the
same thing. In other words, if you do it right, you can maintain your artistic identity and be
successful in the marketplace.
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Jrw: As someone who examines the psychology behind people’s interests, including music,
can you elaborate on what the future might hold for Jazz Rock Fusion? I don't mean a
prediction, but rather an educated speculation based on your observation of how people decide
what types of music they appreciate and why? In other words, why did Jazz Rock Fusion gain
such tremendous popularity in the 70's, will it flourish again, remain the same, or disappear
altogether?
AL: There’s research on the topic of psychological type that I think relates to your question.
Psychological type is concerned with understanding individual differences and preferences. This
research indicates that about two-thirds of the population is made up of “Sensing” types, or
people who prefer the present, the here and now, and enjoy things being spelled out in clear
terms. This preference style would be aligned with shorter three minute songs, easy to
understand lyrics about everyday life, and rhythm patterns that are familiar and simple. On the
other hand, only one-third of the population is made up of “Intuitive” types, or people who prefer
the possibilities, the future, and reading between the lines. These are the types of people who
probably are more comfortable with improvisation, odd time signatures, scales that are new to
them, and enjoy letting their minds wander as they listen. In other words, there are simply less
people around who appreciate what jazz itself has to offer, let alone Jazz Rock Fusion. It’s
important to clarify that these differences exist without any “right or wrong,” or “better or worse”
stigmas. Finally, in the 1970’s, the society was in a cycle that valued creativity, experimentation,
and surprise. We now seem to be in a cycle that values predictability, commercialism, and
popularity. The fortunate thing is that cycles come around again and again. The good news is
that Jazz Rock Fusion done well is all about artistic integrity, musical excellence, creativity, and
open-mindedness. There may be fluctuations in popularity, but these creative and artistic
factors have shown themselves to be significant throughout history. Just as Mozart, Stravinsky,
DaVinci, Rembrandt, Shakespeare, Charlie Parker, and similar creative geniuses are gone,
their legacy remains and will probably always be attractive to “Intuitive” types. I see no reason
that Miles Davis and the Jazz Rock Fusion art form should be any different.
Jrw: What do you feel should happen to make Jazz Rock Fusion even more popular than it is
right now?
AL: I believe the fan base can expand if Jazz Rock Fusion musicians stay true to their core
values, once again, a combination of artistic integrity, musical excellence, creativity, and openmindedness. I also believe that the Internet should be used extensively in order to reach a wider
audience. Since the Internet is world-wide in scope, there are many current fans and potential
fans in the U.S., Western and Eastern Europe, Australia and Japan who desire both artistic
expression and excellent musicianship. Jazz Rock Fusion musicians have begun providing
information about performances and other news through their own Websites. In addition, sites
such as Jazzrockworld.com, Audiophile Imports, and Abstractlogix.com are the types of
resources that Jazz Rock Fusion needs in order to remain viable and grow in popularity. The
next step for musicians is to publicize their music through those sites as well as their own sites,
as opposed to relying on traditional sources of marketing. Because of the Internet, there is now
a new way to reach a “world-wide” audience. If Jazz Rock Fusion musicians and fans tap into
this resource, it will be a win-win situation for everyone involved.
Well, there seems to be a lot of agreement, yet uniquely individual observations and speculation about Jazz
Rock Fusion itself. A very accurate description of the genre and its lifespan can be derived by summarizing
these few and well composed comments. For myself, there is little to add that hasn’t already been touched on.
It’s up to each individual reader to check out the music and draw their own conclusions. I will stress what appear
to be the two most relevant and common elements in everyone’s viewpoint – The movers and shakers in the
entertainment industry either can’t see how or don’t seem interested in how to make Jazz Rock Fusion profitable
or, as Dr. Levin points out, the entertainment industry can’t force feed something to an audience that isn’t
interested. Also, Jazz Rock Fusion is a musical genre that remains significant and will probably always remain
attractive due to its creative and improvisational attributes.
In conclusion, this article, the people that contributed, the continued release of inspired Jazz Rock Fusion
recordings, the newly emerging and re-mastering of old Jazz Rock Fusion recordings, the proliferation of Jazz
Rock Fusion Internet radio stations and on line Jazz Rock Fusion specialty retailers and websites constitute
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proof beyond any doubt that there is still an interest after all these years and that there is something special
about this music worthy of everyone’s attention.
And finally, first things first. Although it’s been done a zillion times and a zillion ways, an article about Jazz Rock
Fusion can’t be an article about Jazz Rock Fusion without mentioning Miles Dewey Davis. Over the years
there’s been considerable speculation, debate, and mystery regarding the origins of Jazz Rock Fusion. Simply
put, without Miles Davis, there wouldn’t be Jazz Rock Fusion, or better still, Miles Davis IS Jazz Rock Fusion.
Discussing Jazz Rock Fusion without recognizing him as the chief would truly be ignoring the elephant in the
room. It’s no accident that the original pioneers and trailblazers of Jazz Rock Fusion with very few exceptions all
played with Miles Davis. Miles saw the enormous popularity, creative forces, and explosion of possibilities
opening up in the world of Rock and liked it. It’s also no accident that Miles Davis played on the same bill with
The Grateful Dead at Bill Graham’s Fillmore West in San Francisco. When Jazz’s Dark Prince showed up at Isle
of Wight without the traditional suit and tie, playing music that he self titled on the spot as “Call it Anything” he
(oversimplifying) changed the world of music forever. Thank you Miles.
I would like to add my personal and deeply heartfelt thank you to all the Jazz Rock Fusion musicians, venues,
retailers, broadcasters, producers, record labels, and other business people and fans that endeavor to
persevere by financially gainful means or volunteer efforts in keeping this great music alive and well. Lastly I
would like to offer just a few resources to help anyone interested in more information, check out the music, or
help support the ongoing creative environment that is Jazz Rock Fusion. Please note that the resources listed
here are mere gateways to the vast number of websites all over the world and just a good starting point for
anyone to begin exploring the musical wonder, mystery, and tiny yet significant art form called Jazz Rock
Fusion.
Resource Sites: www.Jazz-Rock.com
www.Wikipedia.com
www.MusicMoz.org
www.JazzRockWorld.com
Retail Sites:
www.AbstractLogix.com
www.AudiophileImports.com
www.CdBaby.com
www.esc-records.de
Radio Stations: Upbeat And More
Attentionspan Radio
Fusion Groovin
Rich Murray’s Guitar Channel
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About the author:
My name is Rick Calic and I grew up in the San Francisco Bay Area when San Francisco was the center of the
musical world because of the man most responsible for modern music as we know it today – Bill Graham. My
love for music began before I was tall enough to reach the radio on the kitchen counter. My first real musical
epiphany occurred in the mid 60’s when KMPX (The nation’s first ‘underground’ FM station) began broadcasting
the “long versions” of songs, didn’t talk over the beginning and end of a song, and specialized in playing
‘creative’ music. I was immediately attracted to Rock bands that could play extended solos and jam such as The
Sons of Champlin, The Grateful Dead, The Allman Brothers, Traffic, Cold Blood, Tower of Power, Jimi Hendrix
and Cream. At the beginning of the 70’s I was exposed to Jazz because Duane Allman played on Herbie
Mann’s “Push, Push” and I never really left the Jazz section of the record store since. Then in 1972 I saw Miles
Davis, Weather Report, and The Mahavishnu Orchestra, creating another epiphany. Since 1972 I have been a
die-hard Jazz Rock Fusion fan and have been fortunate to see most every original and classic Jazz Rock
Fusion band or musician that came through the various legendary venues in and around San Francisco, such as
Keystone Korner (Tony Williams Lifetime w/Allan Holdsworth, Larry Coryell’s 11th House, Pat Martino’s Joyous
Lake, George Benson), The Great American Music Hall (Gary Burton w/Pat Metheny, Oregon, The Billy
Cobham Players, Shakti, Tribal Tech), The Boarding House (Return to Forever w/Bill Connors), Pepperland,
The Berkeley Community Theater (The Headhunters, RTF, Weather Report, The Mahavishnu Orchestra) *, The
Berkeley Greek Theater (Miles Davis, V.S.O.P. Pat Metheny, Robben Ford, Mike Stern)*, The Saddlerack,
Kuumbwa, The Herbst Theater (Jack DeJohnette’s Special Edition)*, The Warfield*, The Paramount*, Yoshi’s,
Shoreline Amphitheater*, The Concord Pavilion (Jeff Beck)*, Frost Amphitheater*, Stern Grove (Don Ellis, Tony
Williams), Bimbo’s 365 (Art Ensemble of Chicago), Fillmore West (Santana, Cold Blood, Sons of Champlin,
Grateful Dead), Winterland Arena (The Mahavishnu Orchestra, The Fourth Way, The Allman Brothers) *,
Oakland Coliseum (Jeff Beck w/The Jan Hammer Group)*, Zellerbach Auditorium (Herbie Hancock, Passport)*,
The Douglas Beach House (Dave Liebman), and so many others.
*Capacity – over 1,000
Currently, I own www.jazzrockworld.com, edit the Jazz Rock category of www.musicmoz.org , contribute
reviews and articles at www.abstractlogix.com and have written music reviews at the request of such artists as
Billy Kilson, Adam Holzman, Yves Nadeau, Susan Weinert, John Pritchard’s Star Cycles DVD soundtrack with
VyZ, Njazz, Garaj Mahal, and J.D. Hopkins & The Sons of Rhythm.
I would like to thank my wife Therese for her help with this article, her incredible spirit,
inspiration, and support in all things and especially in keeping
www.jazzrockworld.com alive.
I would also like to thank Adam Holzman, John Pritchard, Ulrich Vormehr, Souvik
Dutta, Kai Eckhardt and Garaj Mahal, Frances and Sarah Fields, Tom Marcello, Paula
Crafton, Rich Murray, Sheldon and Jill Carter, Scott Strayer, my friends, family, and
everyone that believed in me when I didn't believe in myself.
In addition, I would like to thank all the Jazz Rock Fusion musicians and fans around
the world for keeping this great music alive and well.
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Jazz Rock Recordings
Miles Davis
Bitches Brew
Columbia
August 1969
Miles Davis (tp)
Bennie Maupin (bcl )
Wayne Shorter (ss)
Chick Corea, Joe Zawinul (el-p)
John McLaughlin (g)
Dave Holland (b)
Harvey Brooks (el-b)
Jack DeJohnette (d)
Lenny White (d)
Don Alias (cga)
Jim Riley (shaker)
Miles Davis
Jack Johnson
Columbia
April 1970
Miles Davis (tp)
Steve Grossman (ss)
Herbie Hancock (key)
John McLaughlin (el-g)
Michael Henderson (el-b)
Billy Cobham (d)
Miles Davis
In a Silent Way
Columbia
February 1969
Miles Davis (tp)
Wayne Shorter (ss)
Joe Zawinul (org)
Chick Corea, Herbie Hancock (el-p)
John McLaughlin (el-g)
Dave Holland (b)
Tony Williams (d)
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Mahavishnu Orchestra
The Inner Mounting Flame
Columbia KC 31067
December 1971
Billy Cobham (drums)
Jan Hammer (keyboards)
Jerry Goodman (violin)
John McLaughlin (guitar)
Rick Laird (bass)
Mahavishnu Orchestra
Birds of Fire
Columbia KC 31996
March 1973
Billy Cobham (drums)
Jan Hammer (keyboards)
Jerry Goodman (violin)
John McLaughlin (guitar)
Rick Laird (bass)
John McLaughlin
Shakti
Columbia
Recorded live at South Hampton College, Long
Island, New York, July 5, 1975
John McLaughlin (acoustic guitar)
L. Shankar (violin)
Zakir Hussain (tabla)
T. H. Vinayakram (ghatam, mridangam)
Ramnad V. Raghavan (mridangam)
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Weather Report
Weather Report
COLUMBIA RECORDS, C30661 (1971)
Joseph Zawinul (electric, acoustic piano)
Wayne Shorter (tenor soprano sax)
Miroslav Vitous (acoustic, electric bass)
Alphonse Mouzon (drums, voice)
Airto Moreira, (percussion)
Weather Report
Heavy Weather
COLUMBIA RECORDS 1977
Josef Zawinul (keyboards)
Wayne Shorter (saxophone)
Jaco Pastorius (bass)
Alex Acuna (drums)
Manolo Badrena (percussion)
Weather Report
Mysterious Traveller
COLUMBIA RECORDS 1974
Joseph Zawinul (piano, synthesizer)
Wayne Shorter (saxophone)
Alphonso Johnson (bass)
Dom Um Romao (percussion)
Ishmael Wilburn (drums)
Miroslav Vitous (bass)
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(Rare misprinted back cover – Song
list is out of order and missing
“Cucumber Slumber”)
Weather Report
Night Passage
COLUMBIA RECORDS 1980
Joe Zawinul (keyboards)
Wayne Shorter (saxophones)
Jaco Pastorius (bass)
Peter Erskine (drums)
Bobby Thomas (hand drums)
Return to Forever
Hymn of the Seventh Galaxy
Polydor 1973
Chick Corea (keyboards)
Bill Connors (guitar)
Stanley Clarke (bass)
Lenny White (drums)
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Herbie Hancock
Headhunters
Columbia 1973
Herbie Hancock (keyboards)
Paul Jackson (bass)
Harvey Mason (drums)
Bennie Maupin (flute, sax)
Bill Summers (percussion)
Herbie Hancock
Sextant
Columbia 1972
Herbie Hancock (keyboards)
Patrick Gleeson (synthesizer)
Herbie Hancock (keyboards)
Billy Hart (drums)
Eddie Henderson (trumpet)
Bennie Maupin (sax b. clarinet)
Julian Priester (trombone)
Buster Williams (bass)
Buck Clarke (percussion)
Scott Beach, Victor Domagalski, Delta Horne,
Candy Love, Sandra Stevens (vocals)
Tony Williams Lifetime
Emergency
Polydor 1969
Tony Williams (Drums)
Larry Young (Organ)
John McLaughlin (Guitar)
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Tony Williams Lifetime
Believe It
Columbia 1975
Allan Holdsworth (guitar)
Tony Newton (bass)
Alan Pasqua (keyboards)
Tony Williams (drums)
Billy Cobham
Spectrum
ATLANTIC RECORDING CORP
RECORDED: MAY 14-16, 1973
Billy Cobham (drums)
Tommy Bolin (guitar)
Jan Hammer (keyboards)
Lee Sklar (bass)
Joe Farrell : flute (saxophone 2 & 5b)
Jimmy Owens (flugelhorn 2 & 5b)
John Tropea (guitar 5b)
Ron Carter (acoustic bass 2 & 5b)
Ray Barretto (congas 2 & 5b)
Stanley Clarke
Stanley Clarke
Nemperor Records 1974
Stanley Clarke (bass)
Bill Connors (guitar)
Jan Hammer (keyboards)
Tony Williams (drums)
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John Abercrombie
Timeless
ECM RECORDS
RECORDED JUNE 21,22, 1974
John Abercrombie (guitar)
Jan Hammer (organ, synthesizer, piano)
Jack DeJohnette (drums)
John Abercrombie
Gateway
ECM RECORDS
RECORDED MARCH 1975
John Abercrombie (guitar)
Dave Holland (double-bass)
Jack DeJohnette (drums)
Dave Liebman
Lookout Farm
ECM Records #ECM 1039 ST
Recorded October 10, 11, 1973
Dave Liebman (Sax)
Richard Beirach (Keyboards)
Frank Tusa (Bass)
Jeff Williams (Drums)
John Abercrombie (Guitar)
Armen Halburan, Don Alias,
Steve Sattan, Badal Roy (Percussion)
Eleana Steinberg (Vocals)
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Dave Liebman
Drum Ode
ECM Records #ECM 1046 ST
Recorded May 1974
Dave Liebman (Sax)
Richard Beirach (keyboards)
Gene Perla (Bass)
John Abercrombie (Guitar)
Jeff Williams, Bob Moses (drums)
Patato Valdez (Congas)
Steve Sattan, Barry Altschul Ray Armando
(percussion)
Badal Roy, Collin Walcott (Tablas), Eleana
Steinberg (Vocals)
Jeff Beck
Blow by Blow
Epic 1975
Jeff Beck (guitar)
Phil Chen (bass)
Richard Bailey (drums)
Max Middleton (keyboards)
Jeff Beck
Wired
Epic May 1976
Jeff Beck (guitar)
Jan Hammer (keyboards, drums)
Max Middleton (keyboards)
Wilbur Bascomb (bass)
Narada Michael Walden,
Richard Bailey, Ed Greene (drums)
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Eddie Henderson
Realization
Capricorn Records #CP 0118
Recorded February 27, 28, 1973
Eddie Henderson (Trumpet)
Bennie Maupin (Sax)
Herbie Hancock (Keyboards)
Billy Hart, Lenny White (Drums)
Buster Williams (Bass)
Patrick Gleeson (Synthesizers)
Eddie Henderson
Sunburst
Blue Note Records #BN-LA464-G Recorded
March, April 1975
Eddie Henderson (Trumpet)
George Duke (Keyboards)
Bennie Maupin (Sax)
Julian Priester (Trombone)
Alphonso Johnson (Bass)
Harvey Mason, Billy Hart (Drums)
Bobby Hutcherson (Marimbas)
Jaco Pastorius
Jaco Pastorius
Epic August1976
Jaco Pastorius (bass)
Don Alias (percussion)
Randy Becker (trumpet)
Michael Brecker (sax)
Herbie Hancock (keyboards)
Pat Metheny (guitar)
Alex Darou Keyboards
Paul Bley (piano)
Sam & Dave (vocals)
David Sanborn, Wayne Shorter,
Howard Johnson (sax)
Hubert Laws (flute)
Richard Davis (bass)
Bruce Ditmas, Bob Economou, Narada Michael
Walden, Lenny White (drums)
Othello Molineaux (steel drums)
Leroy Williams (percussion)
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Kazumi Watanabe
Mobo
DOMO, AW-20006/07
1983 TRIO RECORDS, JAPAN
RE-RELEASED 1991 (Extended CD), JAPAN
Kazumi Watanabe (guitars)
Robbie Shakespere (bass)
Marcus Miller (bass)
Sly Dunbar (drums)
Omar Hakim (drums)
Steve Jordan (drums)
Kei Akagi (piano)
Don Grolnick (organ)
Michael Brecker (saxophone)
Masabumi Kikuchi
Poo Sun
Philips Records #FX-8506
Recorded August and September 1970
Masabumi Kikuchi(p,elp)
Kousuke Mine(ss,as)
Hideo Ichikawa(elp,org)
Yoshio Ikeda(b)
Motohiko Hino(ds)
Hiroshi Murakami(ds)
Keiji Kishida(perc)
Masabumi Kikuchi
Wishes Kochi
Inner City Records #IC 6021
(Originally from East Wind),
Recorded August 11, 12, 14 1976
Masabumi Kikuchi (Keyboards)
Steve Grossman,
Dave Liebman (Sax)
Anthony Jackson (Bass)
Terumasa Hino (Trumpet)
Reggie Lucas (Guitar)
Al Foster (Drums)
Mtume (Percussion)
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Terumasa Hino
Double Rainbow
Columbia #FC37420
Recorded February & March 1981
Terumasa Hino (Trumpet)
Masabumi Kikuchi, Herbie Hancock,
Kenny Kirkland, Mark Grey (Keyboards)
Steve Grossman (Sax)
Lou Volpe, Barry Finnerty,
Butch Campbell, James Mason,
David Spinnoza (Guitar)
Anthony Jackson, Hassan Jenkins (Bass)
Harvey Mason, Billy Hart,
Lenny White (Drums)
Manolo Badrena, Airto,
Don Alias (Percussion)
Steve Turre (Didgeree Doo & Shell Horn)
Terumasa Hino
May Dance
FLYING DISK, VIJ-6002
RECORDED: MAY 7, 1977
Terumasa Hino (trumpet)
John Scofield (electric guitar)
Ron Carter (acoustic bass)
Tony Williams (drums)
Allan Holdsworth
Velvet Darkness
CTI RECORDS, CTI 6068
RECORDED: MAY 24-26, JUNE 18, 1976
Allan Holdsworth (guitar, violin)
Alan Pasqua (piano, electric piano)
Alphonso Johnson (bass)
Narada Michael Walden (drums)
"Stuff I recorded but wish I had not"
- Allan Holdsworth
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Allan Holdsworth
I.O.U.
1982 I.O.U. RECORDS
Allan Holdsworth (guitar)
Paul Williams (vocals)
Paul Carmichael (bass)
Gary Husband (drums)
Joe Farrell
Moon Germs
CTI #CTI6023,
Recorded November 21, 1972
Joe Farrell (Sax)
Herbie Hancock (Keyboards)
Stanley Clark (Bass)
Jack DeJohnette (Drums)
Hal Galper
The Guerilla Band
MAINSTREAM RECORDS, MRL 337
RELEASED: 1973, USA
Hal Galper (Keyboards)
Victor Gaskin (Bass)
Bob Mann (Guitar)
Mike Brecker (Sax)
Randy Brecker (Trumpet
Steve Haas, Charles Alias (Drums)
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Hal Galper
Now Hear This
Inner City #3012
Recorded February 15, 1977
Hal Galper (Piano)
Terumasa Hino (Trumpet)
Cecil McBee (Bass)
Tony Williams (Drums)
Steve Khan
Modern Times
Trio Records #AW-25016
Recorded May 3,4 1982
Steve Khan (Guitar)
Anthony Jackson (Bass)
Steve Jordan (Drums)
Manolo Badrena (Percussion)
Note: Released in the US as "Blades"
Steps Ahead
Modern Times
ELEKTRA MUSICIAN
JANUARY & FEBURARY 1984
Mike Mainieri (vibes, synth-vibe)
Michael Brecker (sax)
Warren Bernhardt (keyboards)
Eddie Gomez (bass)
Peter Erskine (drums)
Chuck Loeb : guitar (on 6)
Craig Peyton : Oberheim system
sequence programming Synth
DMX drums/Pro 1 bass (on 5)
Tony Levin : stick (on 7)
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George Duke
Feel
MPS 25355 1974
Leon "Ndugu" Chancler (drums)
George Duke (keyboards)
John Heard (bass)
Airto Moreira (percussion)
Flora Purim (vocals)
Frank Zappa - Abdewl'l X (guitar)
Om
with Dom Um Romao
ECM Records #19003
Recorded August 1977
Urs Leimgruber (Sax)
Christy Doran (Guitar)
Bobby Burri (Bass)
Fredy Studer (Drums
Dom Um Romao (Percussion)
John Scofield
Electric Outlet
Gramavision April-May 1984
John Scofield (guitar, bass)
David Sanborn (sax)
Peter Levin (synth)
Ray Anderson (tuba)
Steve Jordan (drums)
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John Scofield
Still Warm
Gramavision June 1986
John Scofield (guitar)
Daryl Jones (bass)
Don Grolnick (keys)
Omar Hakim (drums)
Adam Holzman
In a Loud Way
(Japanese Cd)
Glass House Records #PICJ-1001
Recorded May 4-11, 1991
Released 4/25/1992 (Japan)
Adam Holzman (Keyboards)
Dennis Chambers (Drums)
Mino Cinelu (Percussion)
Kenny Garrett (Sax)
Darryl Jones, Steve Logan (Bass)
Jimi Tunnell (Guitar).
Adam Holzman
Jazz Rocket Science
Nagel Heyer Records #2060
October 2005
Adam Holzman (keyboards)
Aaron Heick (sax)
Freddy Cash Jr. (bass)
Mitch Stein (guitar)
Alan Burroughs (guitar)
Alex Elena (drums)
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Tribal Tech
Illicit
Mesa/Bluemoon 1992
Scott Henderson (guitar)
Gary Willis (bass)
Scott Kinsey (keyboards)
Kirk Covington (drums)
Tribal Tech
Reality Check
Mesa/Bluemoon Nov 1994
Scott Henderson (guitar)
Gary Willis (bass)
Scott Kinsey (keyboards)
Kirk Covington (drums)
Mike Stern
Upside Downside
Atlantic March-April 1986
Mike Stern (guitar)
Bob Berg, David Sanborn (sax)
Mitchel Forman (keyboards)
Dave Weckl, Steve Jordan (drums)
Jeff Andrews, Mark Egan,
Jaco Pastorius (bass)
Dr. Gibbs (percussion)
36 of 38
Mike Stern
Odds or Evens
Atlantic 1991
Mike Stern (guitar)
Bob Berg (sax)
Lincoln Goines,
Anthony Jackson (bass)
Dennis Chambers,
Ben Perowsky (drums)
Jim Beard (keyboards)
Don Alias (percussion)
Santana
Lotus
CBS/Sony 63AP 821-3 1973
Carlos Santana (guitar)
Armando Peraza (percussion)
Doug Rauch (bass)
José Chepitó Areas (timbales, perc)
Leon Thomas (vocals, perc)
Michael Shrieve (drums)
Tom Coster, Richard Kermode (keyboards)
Yellowjackets
Yellowjackets
Warner Brothers 1981
Russell Ferrante ( keyboards)
Jimmy Haslip (bass)
Ricky Lawson (drums)
Robben Ford (guitar)
Lenny Castro,
Paulinho Da Costa (percussion)
Bobby Lyle (piano)
Roland Bautista (guitar)
Larry Williams, Ernie Watts,
Gary Herbig, Kim Hutchcroft (sax)
Jerry Hey (trumpet)
Bill Reichenbach (trombone)
37 of 38
Julian Priester/Pepo Mtoto
Love, Love
ECM #ECM1044 ST
Recorded June & September 1973
Julian Priester (Trombone)
Bill Connors (guitar)
Hadley Caliman (Sax)
Eric Gravatt, Ndugu (Drums)
Ron McClure, Henry Franklin (Bass)
Bayete, Patrick Gleeson (Keyboards)
Horacee Arnold
Tales of the Exonerated Flea
Columbia Records #KC 32869, 1974
Horacee Arnold (Drums)
Jan Hammer (Keyboards)
Rick Laird (Bass)
David Friedman (Vibes)
Ralph Towner (Guitar)
Dom Um Romao (Percussion)
Art Webb (Flute)
Sonny Fortune (Sax)
John Abercrombie (Guitar)
George Mraz, Clint Houston (Bass)
David Earl Johnson (percussion)
A (Bass)
George Benson
Beyond the Blue Horizon
CTI - Feb 1971
George Benson (guitar)
Ron Carter (bass)
Jack DeJohnette (drums)
Clarence Palmer (organ)
Albert Nicholson,
Michael Cameron (percussion)
38 of 38
Honorable Mention:
Miroslav Vitous
For his contribution in the formation of
Weather Report (Shoviza), and
(albeit) small role in the formation of
The Mahavishnu Orchestra as well.
CBS Sony #SOPM 157
Recording Date August 25, 1970
Miroslav Vitous (Bass)
Joe Zawinul (Keyboards)
Billy Cobham (Drums)
John McLaughlin (Guitar)
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